Giorgio Agamben

Giorgio Agamben (born 1942) is an Italian philosopher who teaches at the Università IUAV di Venezia. He became famous for his investigations on the concepts of a "state of exception" and homo sacer. He is particularly critical of the United States' response to the terrorist attacks of September 11, 2001, and the use of terrorism as a permanent condition that legitimizes a "state of exception" as the dominant paradigm for governing in contemporary politics.

If human beings were or had to be this or that substance, this or that destiny, no ethical experience would be possible... This does not mean, however, that humans are not, and do not have to be, something, that they are simply consigned to nothingness and therefore can freely decide whether to be or not to be, to adopt or not to adopt this or that destiny (nihilism and decisionism coincide at this point). There is in effect something that humans are and have to be, but this is not an essence nor properly a thing: It is the simple fact of one's own existence as possibility or potentiality.

Ch. 11 : Ethics

Today, in the era of the complete triumph of the spectacle, what can be reaped from the heritage of Debord? It is clear that the spectacle is language, the very communicativity or linguistic being of humans. This means that a fuller Marxian analysis should deal with the fact that capitalism (or any other name one wants to give the process that today dominated world history) was directed not only toward the expropriation of productive activity, but also and principally toward the alienation of language itself, of the very linguistic and communicative nature of humans, of that logos which one of Heraclitus' fragments identified as the Common. The extreme form of this expropriation of the Common is the spectacle, that is, the politics we live in. But this also means that in the spectacle of our own linguistic nature comes back to us inverted. This is why (precisely because what is being expropriated is the very possibility of common good) the violence of the spectacle is so destructive; but for the same reason the spectacle remains something like a positive possibility that can be used against it.